ISBN: 0-86709-267-X 258 pp., List Price: $25.00

Writing From Start To Finish   The lively, direct how-to book and classroom text that helps writers and students of writing on all levels. Discover and develop their own voices Use their background and experience And bring their problem-solving resources to bear upon the challenges of writing   "Writing From Start To Finish sets out the clearest and most comprehensive composition theory that I'm aware of today, powerfully developing the connections among thinking, speaking, reading, writing, and listening." -Beverlye Brown, Maplewood Community College "This is an empowering book [Writing from Start to Finish]... It's a convincing instance of the principle that the relation between speech and writing is crucial. It shows students concretely how that connection works, and can work for them." - Richard Ohmann, Wesleyan University, Connecticut, former Editor of College English

Used successfully for many years in creative writing, composition and prose forms classes, John Schultz's Writing from Start to Finish is the only text that: Offers a fully developed process of writing approach; how to get the writing started, develop and finish it; Develops fully the great resource that students bring with them, i.e., the powerful relationship between speech and writing and between oral forms and written forms, including traditional rhetorical forms; Addresses the needs of the broad diversity of students in the modern classroom and helps them to write better formed sentences, paragraphs, and completed stories and essays; Neither talks down to students nor over their heads; Presents as models effective, award-winning writings by undergraduates who come from diverse backgrounds of race, class, and speech, as well as fresh and effective models from a variety of professional authors, including appealing favorites by Jonathan Swift, Katherine Anne Porter, Herman Melville, W.E.B. DuBois, Charles Darwin, Christina Stead, Richard Wright, Franz Kafka, Robert Penn Warren, Jane Goodall, and many others; Classroom strategies are set forth in clear sequence and detail in a well developed, Teacher's Manual for Writing from Start to Finish. The manual is addressed directly to the teacher and deals directly with the contradiction-riddled situation that every writing teacher faces.

Praise from Teachers who have Adopted Writing From Start To Finish for use in Classes:

"Writing from Start to Finish manages what the vast array of writing texts do not, namely, to be accessible, challenging, and, above all, eminently useful for writers of all levels of development and from many different backgrounds. Direct, readable, this text blends Story Workshop theory with a multitude of specific suggestions, strategies, and exercises that respond effectively to the practical needs of creative writing as well as nonfiction prose forms classes. Particularly impressive is Schultz's focus upon drawing out and developing capacities and skills that virtually all of us possess to some degree: speaking/writing connections of voice, thinking/seeing-in-the-mind, gesture, sense for basic form, narrative movement, and point of view. In combination with classroom approaches that emphasize the dynamic use of the immediate audience, the Story Workshop approach promotes a democracy of imagination, subject matter, and voice; and Writing From Start to Finish should be a staple for teachers and writers seeking energetic, clear writing and improved critical thinking, reading, and writing skills." -Randall Albers, Chair, Fiction Writing Department, Columbia College Chicago.

"Writing From Start To Finish and the Story Workshop approaches… develop strong writing. This, then, becomes a strong incentive for correct usage. In fact, linking oral activities closely to the writing reduces dramatically the number of syntactical errors." - Geraldine Martin, Calumet College

Writing From Start to Finish-Table of Contents

Preface

I THE HOW-TO FORM

Introduction	1
From Cross-Country Skiing Today John Caldwell	4
"How to Make Lasagna" Phyllis Crowley	10
Writing Your How-To: The Subject	14
From Moby Dick Herman Melville	15
"How to Make Chitterlings" Chris Burks	18
Writing Your How-To: The Audience	21
A List of the Major Elements and Characteristics of the How-To Form	22
How to Do Something You're Not Supposed to Do	23
How-To Subjects	24
Writing Your How-To: All-at-Once	25

II THE PROCESS OF WRITING

Working Methods: Getting Started, Build-up, Continuing, and Rewriting	29
Process Techniques for an Essay	34
Seeing-in-the-Mind	36
Spoken Language and Written Language	45
What About the Difficulties of English Spelling?	51
Moving from Speech to Writing	52
What We Need Is a Mixed Diction	53
Punctuation	54
Voice	56
Journals and Notebooks	57
From Diaries: 1910-1913 Franz Kafka	58
"Journal Entry" Ann Hemenway	62
A Journal Activity	64
Writing in Your Journal	65
The Letter Form	67
From The Letters of Gustave Flaubert	70
"Open Letter to President Wilson" W.E.B. DuBois	73
"Dear Emily" Beverlye Brown	75
"Gus Is Dead" James 0. Elder	78
Exaggeration	80
Comparisons	82
Metaphor and Audience	83
Gesture and Metaphor	84
Other Gestural Correspondences	85
Active Verbs	85

III HOW-IT-HAPPENS 88

How Things Happen: Subjects and Principles; Perception and Expression of Instances and Patterns	88
"Rats" Mike Schwarz	88
From The Year of the Gorilla George Schaller	93
From The Voyage of the Beagle Charles Darwin	97
Journal Instances for "Parents, Children, and No" John Schultz	99
"Parents, Children, and No" John Schultz	101
Writing Your How-It-Happens Instances	105
Monsters	107
From "The Garlic Monster" Andrew Allegretti	108
"The Bread Monster" Shawn Shiflett	109
Telling and Writing Your Monster	110
Parodies and Satires	111
"Magical Mechanical Machine" Scott Hoeppner	112
"How Far Would You Go?" Gary Gaines	112
"Station Break" Cloteria Easterling	114
Writing Your Parody	114
Comparison and Contrast of Short Instances to Develop Patterns	115
From The Man Who Loved Children Christina Stead	117
"Elaine's and Sheila's Dreams" Ann Hemenway	119
Writing Your Comparison and Contrast of Short Instances	119
Model-Telling	120
From Lay My Burden Down B.A. Botkin	121
From Moby Dick Herman Melville	124
From All the King's Men Robert Penn Warren	126
From Close Quarters Larry Heinemann	127
"The Mating of the Mantis" J. Henri Fabre	129
Writing Your Model-Tellings	131
Model-Summary	131
From The Robber Barons Matthew Josephson	132
"Chimpanzees' Touching Behavior" Jane Goodall	132
From "Old Mortality" Katherine Anne Porter	133
Model Extended Comparisons (Analogies, Similes, Metaphors,and Figures)	135
Writing Your Model Comparison (Analogy, Simile, Metaphor, Figure)	138
Model-Character-Telling	138
From The Man Who Loved Children Christina Stead	139
"Cool Willie" Ronald Booze	141
"Route Manager" James Hall	143
Writing Your Model-Character-Telling	145

IV POINT-OF-VIEW 147

Point-of-View	147
From "Problems of Collecting Oral Literature" MacEdward Leach	148
From The Kandy-Kolored Tangerine-Flake Streamline Baby Tom Wolfe	149
From The Man Who Loved Children Christina Stead	149
From Einstein: The Life and Times Ronald W. Clark	152
"Wordsworth Visioning and Re-Visioning" Randall Albers	154
Using Point-of-View Structure in Your Writing	156
Opposites	157
"Morgan" John Schultz	157
From The Informed Heart Bruno Bettelheim	158
From the Introduction toNative Son Richard Wright	160
"Marge" Sharon Weber	163
Writing Your Opposites	165
Story-Within-a-Story	167
From Moby Dick Herman Melville	168
From "Jonah"	172
"Adam and Eva Mae" Reginald Carlvin	173
Writing Your Story-Within-a-Story	178
Letter on Behalf of Yourself	180
"Jack London to Messrs. N. Clark & Sons"	180
"To: Ward Heeler, 51st Ward" Andrew Hyzy	181
Writing Your Letters on Behalf of Yourself	183
Course of Reasoning in Support of a Public Issue	183
"Euthanasia" Marilyn Mannisto	183
Writing Your Side of a Debate	188
Folktale	188
"How to Melt, Blacken, and Break" Betty Shiflett	189
"The Cat and Mouse in Partnership" The Brothers Grimm	191
"A Cat and a Chick Hooked Up" Sandra L. Crockett	193
Writing Your Folktale	195

V HOW-IT-HAPPENS-INSTANCE COLLECTIONS AND GENERAL 196

How-It-Happens Instance-Collections	196
"How People Relate to Cancer" Marilyn Mannisto	196
From "D to the Knee! Stone to the Bone!" Dino Malcolm	203
Writing Your How-It-Happens Collection of Instances	207
General Essays-Combining Personal Observation, Research Through Reading, and Other Research Methods	208
"Oration by Chief Seattle"	208
"On the Murder of His Family" James Logan (Tah-gah-jute)	209
Definitions	209
Comparison and Contrast-Division and Classification	211
From Motion Will Be Denied John Schultz	211
From The Jungle Upton Sinclair	215
"Cairo, U.S.A. 1971" Betty Shiflett	216
"Einstein and Frankenstein" Michael Finger	223
Writing Your Essays-Content, Clustering of Instances, and Organization	226
General Essays - How-It-Happens - Research Through Reading	227
From The Art of Survival Cord Christian Troebst	228
"Workerology" Reginald Carlvin	231
Writing Your General Essay - How-It-Happens - Research Through Reading	238

VI HOW-TO-DO-IT-Better 242

How-to-Do-It-Better-Technical Form	242
From Moby Dick Herman Melville	242
How to Eat a Hostess Ho Ho Better Sue Ferraro	245
Writing Your How-to-Do-It-Better Technical Form	246
How-to-Do-It-Better-Parodic and Satirical Proposals	247
"A Modest Proposal" Jonathan Swift	247
"Dear Henry" Daniel Andries	252
Writing Your Parodic and Satirical How-to-Do-It-Better Proposal	257